Lighting in television or film is a fundamental part of any production.This presentation includes nature of light,color,color temperature,white balance,basic lights,anatomy of human eye, .....and many more.

1. TV
LIGHTING

2. What is Light
Light is a form of energy ,that associated
with molecular motion
Duel Nature of Light
1.
2.
Light Travel in straight rays
Light Travel in Packets (photon)

3. What is Light?
Light is made up of different wavelengths of energy.
Colour we see falls into the bracket of the visible
spectrum.
Red has the longest wavelength and blue has the
shortest.
Physical Science 7.3a - The Nature of Light.flv

4. Light Theory


White light is actually made from a mixture of full
red, full green and full blue wavelengths as
shown below.
RGB can make all colours in the visible spectrum.
Mixing pairs of the primary colours makes the
secondary colours (cyan, magenta and yellow).

5. How We See Light – The Eye

Light is gathered through
the pupil and focused by
the lens onto the retina.

The retina is covered in
light sensitive cells called
rods and cones.

Tiny electrical pulses are
sent down the optical nerve
to the brain where they are
assembled into an image.
A Journey Through the Human Eye_ How We See.mp4

6. Process of Vision Animation[1].flv
How The Eye Deals Detects Light


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95% of the retina is made of rods and are
sensitive to luminance
(brightness/intensity/black or white info)
and work at low light levels only.
5% of the retina is made of cones that are
sensitive to chrominance (colour) and work
in only good light levels.
This is why in darkness we see black and
white and edges.

7. The Eye


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There three cones are all sensitive to a different
wavelengths of light.
We have cones sensitive to red, green and blue light.
We are most sensitive to green, less to red and even
less to blue.
We actually see 60% green, 29% red and 11% blue
All video devices work on the same principles as the eye
and because we are least sensitive to colour. This is
where the most compression is used.

8.  Without
light it is virtually impossible to
make television images.
 Lighting has both a technical and
aesthetic function
 The right light will create excellent
pictures

9. Objectives of TV Lighting
To fulfill the technical requirement of the system
Lighting must provide sufficient level of illumination
for the camera’s

10. To provide a three dimensional prospective
The TV screen is two dimensional.
Depth must be provided through the - use of
camera angels
- set design
- Performer blocking
- Proper use of light to emphasize texture,
shape and form

11. To direct attention to important element
in a scene
The use of light and shadow can reveal
and conceal important elements
in
the scene ,
The director uses light to guide the
viewer’s attention
within a scene.

12. To establish the mood of a scene
Lighting can provide the viewer with a sense of
a scene emotional mood.

13. To fix the time of the action
It conveys the feeling about time i.e
morning, evening, night and season.

14. Amount of light
 The
amount of lighting a shot will
determine how clearly we see the
images
 The type of light affects the color

15. MOOD
 Lighting
affects mood…two messages
can be conveyed in the same room
with different lighting.

16. Video Cameras
 Video
cameras require more light than
other cameras.
 There must be enough light reflected
off a scene to produce an image.

17. BRIGHTNESS


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The intensity or brightness of the light on a
subject affects how well a camera can see
it
Too little= too dark and underexposed
The image will be soft and underexposed
Will create a grainy look (this is called
picture noise)
Bright light creates sharp and clear images

18. BASE LIGHT

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The light that already exists in an environment is
its base light.
If you turn the lights off in a room you lower the
base light
If you turn more light on then you raise the base
light
Base light is often all you will have to work with
but that doesn’t mean you can’t think about
lighting

19. DIRECTION



The direction of a light source affects the
way light and shadow fall on a subject.
Direction is determines by how you position
both the subject and the lighting fixture.
Light from the side produces dimension and
texture where as light coming directly in
front (from the angle of the camera) will
reduce texture and shape.

20. QUALITY



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The quality of light refers to whether it is
hard or soft .
Hard light creates sharp and well defined
dark shadows.
It brings out the shapes and textures of the
subject
Hard light is created by sunlight and
directional focused lighting fixtures

21. SOFT LIGHT

Soft light is diffused and creates very few or
no shadows (like a cloudy day)

22. COLOR

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Light also determines the color an object will be
White light is an equal mixture of colors across
the full spectrum of red, orange, yellow, green,
blue, indigo and violet
Our eyes compensate for these differences in
color temperature
Cameras don’t
The type of light affects the color of the object

23. Color Temperature

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

Different types of lighting casts a different
temperature of light.
Different temperatures cast different color
tints of light.
Indoor Lighting generally is 3200 K (Kelvin)
**red**
Outdoor Lighting 5600 K **blue**

24. COLOR TEMPERATURE

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The exact color and tone of light is called
color temperature
Color characteristics are classified on a
KELVIN (K) color temperature scale.
This scale measures the degree of red or
blue in the light (not the heat or brightness)
The higher the color temperature the more
prominent the blue tones

25. COLOR TEMP….

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As the light gets brighter or as the light
source changes the color temperature
changes
Daylight has more blue tones
Video lights usually have red tones
Lights in homes are even redder
Fluorescent lights are green

26. Color Temperature
For example, in the photo
on the right,
both sources of light
(sunlight on the right; a
standard light bulb on the
left) normally appear as
white light to the eye. It's
only when we see them
together that we notice
that the colors of the two
sources of light are quite
different.
Color Temperature.flv

27. Example of Color Temperature
Video Production Lighting _ Color Temperatures in Video Lighting.mp4
Warm
(2000-3000K
Mid-range
(3000-4000K)
Cool
(4000K +)

28. Studio and Field Light Levels
Although most TV cameras need at least 1000 lux
(about 90 FC) of light to produce good quality video
in the middle of the lens f-stop range, many can
produce acceptable pictures under a few footcandles of light.
Today, many on-location shoots are done with as
little as 30 foot-candles (about 300 lux) of light.
The latest generation of professional video cameras
can produce good quality video under less than one
foot-candle (less than 10 lux) of light

29. Intensity Control Through Varying Distance

30. Light Coherence
Coherence, often called quality, is the hardness or
softness of light. Light quality is probably the least
understood and the most neglected of the three
variables.
In the photos above the objects are exactly the same. Two
of the variables of light are also exactly the same: intensity
and color temperature. The only difference is the third
variable: the coherence of the light. The first photo was shot
with soft light, the second with a hard light source.

31. Hard Light
Hard light casts a sharp, clearly
defined shadow.
When hard light is used to
illuminate a face, imperfections in
the skin stand out.
The result is less than flattering.
But in other applications, such as
bringing out the texture in leather,
or the engraving on a piece of
jewelry, this can be an
advantage.

32. Primary Factor of Lighting

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Understand 3 point lighting to illuminate subject,
give shape, add texture, fill in harsh shadows
and separate from background
Not too large contrast light and dark
Create an even base light
Working knowledge of two type of instruments
Reasonable understanding of color temperature

33. Measuring Light
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Reflected Light- gives shape and texture,
paints visual image
We perceive shape and color by what is
not reflected
Incident Light- direct path from
instrument to subject
Without enough there are black holes

34. Foot Candles- Light’s Measurement

Amount of light collected
in a one foot radius of a
standard candle.

Using a light meter, you
measure the objects.
Example-Suit 15 ftc/Wall
700 ftc… 46:1 ratio


35. WHITE BALANCE


Most cameras will white balance
automatically but some will have the option
to do this manually
To do so you would select the color
temperature for the dominant light source,;
place a white object or card in that areas;
point the camera at the white object
completely filling the screen and perform
the white balance function

36. Lighting for Television & Video
Design & Practice

37. Hue, Saturation, Brilliance

Hue and saturation are the two qualitative
differences of physical colors.
Essential character,
inherent feature,
property

The quantitative difference is brilliance, the
intensity or energy of the light.
"Color," Microsoft Encarta Encyclopedia 2000. Microsoft Corporation. All rights reserved.

38. Hue & Saturation
HUE - Actual color:
Human color perception is
based on only 4 HUES:
Yellow, green, blue, & red.
SATURATION: (“chroma”)
Amount, strength, purity of color
Computers
& TVs
Zettl, H. (2005). Sight, sound, motion: Applied media aesthetics, 4th ed. Belmont, CA: Thompson-Wadsworth

39. The Look & Feel of Lighting
Look

sensory, surface properties, visual style; “slick”,
hard, soft, bright, dark, etc.
Feel

emotional, subjective, connotative; rhythms,
textures, colors, tonal values
Viera, D. & Viera, M. (2005). Lighting for film and digital cinematography, 2 nd ed. Belmont CA: Thompson-Wadsworth.

40. Aesthetics
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Shadows
Falloff
Color
High Key / Low Key lighting
Patterns

41. Patterns

Kukuloris (“Cookies”) or Gobos
24” or 42” sq. panel frame

42. Shadow projected on background
…and actors in this case
Viera & Viera, p. 35.

43. Shadows
Suggest:
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Shape
Location
Mood
Time, season
Texture

44. Shadows
What shape are these objects?
“Flat” with
diffused source
Directional source,
off to side.

45. Shadows Define Shape & Location
Attached Shadow vs. Cast Shadow:
Gives info on shape of object & where it is
relative to its surroundings.

• Where is the light source?
• How far from the ground is the cone?

46. Shadow

Indicates distance, time, mood.
Zettl, H. (2005). Sight, sound, motion: Applied media aesthetics, 4 th ed. Belmont, CA: Thompson-Wadsworth, p23

47. Falloff
Facial texture
Fast falloff
Slow Falloff
Zettl, H. (2005). Sight, sound, motion: Applied media aesthetics, 4th ed. Belmont, CA: Thompson-Wadsworth, p28

48. Ext shadow

Time of day

49. Angle

50. Predictive Lighting

Portends a coming event…
Often used along with predictive
sound, music…

51. Soft & Hard Light

Dramatically different shadows and moods

52. Background Lighting
and Composition
Bkgd. divided into B & W,
separates characters
(The Third Man, Studio Canal Image, 1949)
Photographs, Viera & Viera, p. 34
Bkgd. Light used to create
composition; where does the light
bkgd. lead you?
(8 ½, Corinth Films Inc.,
1963.)

53. Background Light

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The same ¾ key, fill, background set up
Different intensity for different moods
Bkgd.
Fill
Photographs, Viera & Viera, p. 33
Key

54. Cameo

Black background, subjects sharply set off
from bkgd. No fill, no bkgd light. Sometimes
a kicker.
Zettl, p. 43

55. Chiaroscuro
Three functions:
Organic, Directional, and Spatial / Compositional.
Here, light seems to radiate from a single candle hidden behind the
left woman’s hand.
Zettl, p. 41

56. Back Key- back light is dominant


When light comes from behind.
Frontal fill
Viera & Viera, p. 25

57. Eyelight, cont.

Without
eyelight, eyes
would be lost
in shadow.

Give a sense
of “aliveness,”
twinkle
Viera & Viera, p. 37, 81/2, Corinth Films, Inc. 1963

58. Eyelight: Do you see a difference?
No eyelight
Eyelight

59. High Key / Low Key

60. What kind of lighting is this?
a.
b.
c.
d.
Low Key
High Key
Flat lighting
Cameo

61. Hollywood style lighting

62. Hollywood style lighting

63. Silhouette - opposite of cameo
Shows contour but
no volume, no texture.
What’s being used?
a)
b)
c)
d)
e)
Key
Back
Fill
Kicker
Background

64. Review: Lighting lingo

“INSTRUMENT”= light

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fc, lux
Light meters

(gaffer’s tape)
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L.D., Gaffer, Best Boy Gaffer:
lighting personnel
Cookies
Baselight
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Shadow
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Contrast

(Color Temperature)
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“LAMP”= bulb
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Reflectors
Flags
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Barn doors
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Scrims
Gels

65. Thank you!